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Feminism in Les Miserables


            Typically in late 19th century literature, female characters are simply placed in the novel to further the male protagonist plot. They are seen not to drive the plot but to only sacrifice for the men. Whether the women be placed as a love interest, a wife, or a mother, she given little to no autonomy and can be looked at in a passive light. Through Hugo's novel, Cossette portrays these stereotypical feminine ideals with her pleasant and easygoing attitude and striking beauty. It can be said that Cossette simply exists and has no proactive role other than to bring pleasure to Valjean and then Marius. At first Cossette might signal to the reader anti-feminist ideas and may place Hugo in a negative light. When examine other female characters, such as Fantine and Eponine one can see how Hugo actually portrays women as proactive characters who fall throughout the spectrum of femininity and break out of the typical one dimension shell. Hugo, through his diverse representation of women, introduces the reader to admiration and sympathy for women and spreads knowledge about political fight for justice these women face everyday. .
             Cossette is placed in the novel as the stereotypical female character; she is typically the character who is looked down upon in feminist critique. Throughout the book she is described by her passivity and pure beauty and although Cossette grows up to be the least active female character in the novel, Hugo chooses to highlight some of Cossettes strengths as a child. When Valjean pickes up Cossette from the Thenardiers and is forced into running from Javert, Hugo depicts Cossette as a strong little girl. Cossette is clearly frightened but she still tries her hardest to keep up with Valjean and doesn't expect to be taken care of. Cossette's passivity shines through but so does her strength and endurance as a person. Rather than rely on Valjean to carry her the whole way, Cossette chooses to walk, giving herself some agency in the situation (403).


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